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The profanity of paint

Chapter 12: 11. Tragedy
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About This Book

A collection of short, reflective essays by a painter that privilege romantic vision and intuition over technical realism, treating colour as a mutable, almost spiritual force beyond pigments. Through meditations on trees and the limits of representation, the author argues that literal training and excessive knowledge can stifle true artistic feeling, and he champions silence, poetic language, and personal temperament as essential to creation. Individual chapters address rhythm, relation, critics, the middle class, extravagance, tragedy, genius, and the idea of a masterpiece, concluding with moral reflections on the artist’s mission and the tension between perception and portrayal.

11. Tragedy

THE sky was impressive by its change from sunlight to sudden darkness; and the ethereal fabric hung like black velvet over all the woods. All the colour that a moment ago clothed the trees was gone in an instant, as a candle is blown out; and the world was without form.

I stood under a tree. The sense of my own presence was the only note of reality that disturbed the dream of pre-world void.

In a few minutes the heavens opened high above my head and a stream of light slanted down upon an old oak. Perhaps it was the searchlight of a war god, for in a moment the oak was struck, and the earth shook as it fell. I was captivated as much by the greatness of the tree as by its fall; it was torn up with its roots with a mountain of clay in its grip. But more wondrous than all were the forewarned sheep that nestled under it to the last moment. Why did they all rise and leap forth into the open field? What made them flee before the blast?... There are sanctuaries which should never be unveiled: there are questions you should not attempt to answer—this is one.